The full text of the Book of Songs Qin Fengjia is notated as follows:
jiān jiā cāng cāng, bái lù wéi shuāng. suǒ wèi yī rén, zài shuǐ yī fāng.
The jia is green and the white dew is frost. The so-called beauty is on the water side.
sù huí cóng zhī, dào zǔ qiě?cháng?. sù yóu cóng zhī, wǎn zài shuǐ zhōng yāng.
If you follow it, the road will be long and blocked. Traveling back from it, Wan is in the middle of the water.
jiān jiā qī qī, bái lù wèi xī. suǒ wèi yī rén, zài shuǐ zhī méi.
The leaves are luxuriant and the white dew is still there. The so-called beauty is on the water.
sù huí cóng zhī, dào zǔ qiě jī. sù yóu cóng zhī, wǎn zài shuǐ zhōng chí.
If you follow it, you will be able to advance when the road is blocked. If you go back and swim from it, you will feel like you are swimming in the water.
jiān jiā cǎi cǎi, bái lù wèi yǐ. suǒ wèi yī rén, zài shuǐ zhī sì.
The jianjia is collected, and the white dew has not stopped. The so-called beauty is in the river of water.
sù huí cóng zhī, dào zǔ qiě yòu. sù yóu cóng zhī, wǎn zài shuǐ zhōng zhǐ.
Looking back, the road is blocked and to the right. If you go back and swim from it, you will be swimming in the water. Introduction and appreciation of the work "Jian Jia"
"Qin Feng·Jian Jia" is a poem in the "Book of Songs", the first poetry collection in ancient China. This poem was once thought to be a way to ridicule Qin Xianggong for not being able to use Zhou rites to consolidate his country, or to regret that he could not attract wise men who lived in seclusion.
The whole poem has three chapters, and the chapters are sung over and over again. The last two chapters are only slightly modified from the text of the first chapter, which creates the effect of harmonious rhythm within each chapter but uneven rhythm between chapters. Semantic back-and-forth.
The poetic emptiness of the work brings trouble to interpretation, but it also expands the inclusive space of its connotation. When readers touch the things hidden behind the described objects, they will feel that the objects in this poem are not just used by the poet to simply sing, but also contain certain symbolic meanings.